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Pate UHLE POTEERY COLLECTIONS 
PROM CHANCAY 


BY 


A. L. KROEBER 


UNIVERSITY OF CALIFORNIA PUBLICATIONS IN AMERI 
AND ETHNOLOGY . 


Vol. 21, No. 7, pp. 265-304, plates 80-90, 26 figs. 
Isued May 19, 1926 





LonpoN, ENGLAND Aes 







THE UHLE POTTERY COLLECTIONS 
FROM CHANCAY 


BY 
A. L. KROEBER 


Wirn APPENDIX BY Max UHLE 


CONTENTS as 

Oho bs MWh ET SEG OP a SI eae pee een Ae en 266 
Reig eleOnewnire Boyes Ay By Doce tins-Sesscdieececesginesoconsvinns Vor) ate ee ee 267 
ae ipec-coror and Hpigonal styles: Bite Cui. c...occccccsecssscssesescsscesecsosssnssssscsesovesusenseseavae 271 
White-on-red and Interlocking styles: site Boo....00ccccccccccececeeeseeeeeeeseseveveeees 275 
TIES UCU ar iS 26 Sy Sg WR ce 2 een eee en 276 

ON pe be ora cd RUPP 9 Rag RN TH ae ee et ee Ee 279 
LOLI OM SPO DRUM EUW OLS TY LES Gb Hrasguc sescacceotsevissccede ots ac vende sSheady coostuontenebnie es ov utteaseasiescns 283 
COS SESE SVR) oa 78 RA ae Rn 291 
Appendix. Report on Explorations at Chancay. By Max Uhle......00000000000..... 293 
Specimen mnurabers of Objects illustrated s.. (..6..5...c.cccccccoessqeesvescseedsrsesessepivavsoneeesntenenees 304 


PLATES 
Following page 304 


80-82. Black-on-white style ware from sites A, B, C, D. 
83-85. Three-color Geometric and Epigonal styles from site C. 
86-87. White-on-red style ware from site E. 

88-90. Interlocking style ware from site E. 


FIGURES IN TEXT 


1-4. Black-on-white style goblets and low bow]s.........0...00ccccccccceccceeeeseseseseees 268 
Pi NU GeO TEG BUY IG FATE 26. ).<50: 2c ccsee Avge cascedecscpes cab) chs ec berteer Bede DpsersascoQineneapan vce 276 
woumeerrcaware are, White-on-red style. .....ccscvcurerctissietiedesorscesbnsarsmunannstoosspahensuneescs 20 
10. Cylindrical vessel, Interlocking fish patterm.....0....0.000000..cccccceceeeereeeseeees 278 
Il. Cylindrical vessel, Interlocking fish pattern......0.00...00.0cccccceccccsteetecceeceeeees 279 
12) armncrical vessel, Interlocking styles. .is22 os ccsicsecelistcviedssecieesandorvegeaenccen 280 
13. Cormmaricai vessel: Interlocking styles. Joi. csideecevilevcssevc td ehanpoecsscordaal ove cgentieents 281 
14, ulmmurieal vessel: Interlocking style siicn ckct icon dies essesnties we oeacsies todo. 282 
15. Incurved bowl, Interlocking fish pattern...................c.cccceccsceescsecseseetsseeieeees 283 
16. iment ved: bow), Interlocking fish pattertyi..0.2.1. 8.0.00 cenieadeles ued 284 
17. ineuved. bow). Interlocking-style:z. 364 es ea ess on sd ene 285 
18. Prcenrnt. Intenocking At y le... 55: cr8 kesh soho ac nsaek Seti gis ee 286 
19. ererdsancerlocking 11aN Pattern ...ccc. accaes nec: )or eee een) ee ee 287 
20. Paestern-on sherd, Interlocking styles: .itsen..cc. hs. ees Ah ccc et eco 288 
PAS Darce sherd:. Interlocking stylenc ee eet een oy ena 288 
22. Jar neck, Interlocking fish pattern........:....2:.:ce::cccusee Cage a ae 289 
23. Ri amamiform jar FPOMy ete Boss cv... ee meeee eee ois Some ee eee ee eet 290 


24-26. Jars and fragment attributed to Interlocking style... eee 290 


266 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


SITES, GRAVES, AND STYLES 


Dr. Max Uhle’s collections at Chancay were made for the University 
of California in 1904. They comprise 701 catalogue entries, numbers 
4—6361—-7051 and 4—9357-9366 of the University Museum of Anthro- 
pology. Of these, 531 are pottery vessels, mostly complete. These are 
here described and interpreted according to the plan followed in the 
monographs previously issued in this series on the pottery collections 
from Chincha, Iea, Ancon, Moche, and Supe.' The data filed by Dr. 
Uhle with reference to his work at Chaneay are contained in his field 
catalogue and in a general report of which the principal portions are 
herewith reproduced in the Appendix. He has also outlined and dis- 
eussed his results in an article, ‘‘Ueber die Friihkulturen in der 
Umegebung von Lima.’” 

Five sites were excavated by Dr. Uhle: 

Site A, La Mina, in a plain or gentle slope of soil at the northwestern foot 
of a rock or hill called Cerro de Trinidad. This hill is about 150 to 180 m. high 
and lies 400 m. south of the port of Chaneay, forming part of an elevation 
which separates the harbor and valley of Chancay from the salty meadows 
known as Las Salinas. 

Site B, La Calera de Lauren, 3 miles north of the town of Chaneay, on the 
sandy southern or seaward slope of a hill 200 m. high. There are ruins of tapia 
and a cemetery of burials in square pits, 1.5 to 3 m. deep, like those at site A. 
Textiles and perishable objects were not preserved. 

Site C, La Calera de Jegoan or Jecuan, on the landward side of the same 
hill. 

Site D, Huaral Viejo, Hacienda Guando. 

Site E, on the southern slope of the Cerro de Trinidad. 


Sites A and E are thus on opposite sides of a hill south of the 
harbor, B and C on opposite sides of a hill north of the harbor. As 
will be seen however, the ware from A and B (as well as D, which is 
not located with reference to the others) is identical, rather different 
from the ware of C, and quite different from that of E. 

The material at Site A was found in graves 1 to 5; that at B in 
graves 1 to 2, that at C in graves 0, 1-24, 26-30, 32-39. The vessels 
from D are from one grave. At site E numerous graves were exca- 
vated, but their contents were not designated separately. On the other 
hand Dr. Uhle separated the E ware into two groups of obviously 

1 This volume, papers by Uhle, Strong, Kroeber. 


2 Internat. Cong. Americanists, xv1, Vienna, 1908, 347-370, 1910. Cited here- 
after as Frihkulturen. . 


1926 } Kroeber: The Uhle Pottery Collections from Chancay 267 


different style, an E1 or ‘‘first period’’ and an E2 or ‘‘second period’’ 
ware. As he states in his appendix and in the article cited, the El 
ware was mostly broken and was found in the same graves with the 
whole E2 vessels. 

The provenience of objects according to site and grave is: 

Site A, grave 1, nos. 6361-6409; 2, 6410-20; 3, 6421-23; 4, 6424-28; 5, 6429-33. 

Site B, grave 1, 6434-49; 2, 6451-96. - 

Site C, grave 0, 6497-6501, 6518-20; 1, 6503-10; 2, 6511-14; 3, 6515-16, 
6704; 4, 6521-22; 5, 6523; 6, 6524-25, 6684-86; 7, 6527-38; 8, 6540-43; 9, 6544; 
10, 6545-49; 11, 6551-53; 12, 6554-55, 6687; 13, 6556-58; 14, 6559-67; 15, 
6568-72; 16, 6573-75; 17, 6576-80; 18, 6581-85; 19, 6586-93; 20, 6594-6600; 21, 
6601-03; 22, 6604-12; 23, 6613-20; 24, 6621-25; 26, 6626-29; 27, 6630-32; 28, 
6633-34; 29, 6635; 30, 6636-39; ‘‘various,’’ ‘‘surface,’’ or ‘‘separate,’’ 6640-67, 
6708; 32, 6668-73; 33, 6674-77; 34, 6678-81; 35, 6682; 36, 6683; 37, 6688-95; 
38, 6696-99; 39, 6700-02. 

Site D, grave (1), 6705-26. 

Site E, ‘‘period 1,’’ 6727-6804, 6985, 7016, 7019; ‘‘period 2,’’ 6805-6984, 
6986-7000, 7017-18, 7020; without specification, or ‘‘superficial,’’ 7001-15, 
7021-51. 

Black-on-white graves, 9357-66. 

The styles represented at these five sites are five in number: 

A, B, D yielded only Black-on-white pottery of the style commonly 
known as that of Chaneay. This type of ware constitutes a consider- 
able part of the Ancon pottery which Strong has described as Late 
Ancon II. 

C yielded Red-white-black or Three-color Geometric ware; three 
and four-color base Epigonal; and a considerable proportion of the 
Black-on-white pottery which was found pure at A, B, and D. 

The E2 style is characterized by very simple white designs over- 
painted on red, and may be called White-on-red. Chancay. 

The El style may be described as three-color Interlocking, with 
crudely executed but rather intricate designs, and a high proportion 


of cylindrical vessels. 


BLACK-ON-WHITE STYLE: SITES A, B, D 


The familiar Black-on-white ‘‘Chaneay type’’ of ware was found by 
Dr. Uhle at three cemeteries without admixture of any other style. 
Since two of these cemeteries, A and B, were on the same two hills 
with cemeteries E and C that yielded wares of quite different style, a 
difference of period is rendered almost certain. 

The Black-on-white is light, thin, porous ware; its light red or 
orange-buff paste is rather crumbly; the white slip seales and decays 


268 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


off easily. The black is often dark brown or even reddish brown. In 
a few large figure jars there is an overpaint of red on the lower part 
(pl. 806). Occasionally there is as much black area as white, or even 
more (pl. 81c), but in general the black forms slender designs. Smoked 
blackware (pl. 80a) is rare. 


Characteristic forms are: : 


1. Ovoid jars, with a pair of handles either at the neck or at the middle of 
the body. The mouth is either concave or convex, and often ‘‘double’’ or 
‘“swollen’’ (pls. 80e, 81f, g). Many of these jars are tall, rather narrow, and 
their bottoms almost pointed (pl. 80b-e). All the larger ones are somewhat 
flattened. The neck is sometimes modeled into a human face, characterized, like 
the Chancay figurines, by a sharp, narrow nose, usually by a chin that projects 





Figs. 1-4. Black-on-white style goblets and low bowls; 1, B2-6475; 
2, B2-6485a; 3, B2-6480a; 4, B2-6480c. 


almost shelf-like, and by face painting that gives the effect of spectacles 
(pls. 80b, 8le, 82a). There is usually a knob, animal, or little platform modeled 
on the front below the neck (pls. 80c, d, 81g; cf. also 80b, 81a and the painting 
on 80e) or in smaller jars connected with one of the handles (pl. 80b, f). The 
painting extends over the upper two-thirds of the body of the jar. 

2. Low open bowls, with or without a foot, more often with it. (pl. 82f, g; 
figs. 3, 4). 

3. Incurved bowls (pl. 82c, e). 

4. ‘*Quero’’-shaped unstemmed goblets or flat-bottomed unhandled cups. 
The profile is concavely conical (figs. 1, 2); some, with a foot, are almost hour- 
glass shaped. These goblets are usually plain white. 

These four types account for 107 of the 122 pieces from sites A, B, D. A 
few other forms appear in plates 80a (black), 80f (mammiform), 8ld (buff), 
82b, 82d, and fig. 5 (mammiform). 


The patterns and design elements include: 


Simple narrow stripes (pl. 80d). 

Paired lines or stripes (pls. 80c, 82c). 

Stripes, paralleled by lines (pl. 82D). 

Same, with rows of dots (pls. 80c, 8la). On the lip of plate 80e the arrange- 
ment is of alternating triangles with dots. 

Stripes alternating with zigzag or wavy lines (pls 80d, 810, e, f). 

Pairs of lines diagonally crossed (pl. 81f, g). 

Toothed diagonals, triangles, or diamonds, or stripes broken by white squares 
(pls. 80c, d, 81a, g, 82e). 


1926 } Kroeber: The Uhle Pottery Collections from Chancay 269 


Small, free-standing animals or birds, curvilinear but conventionalized, 
usually repeated (pls. 80c, e, 82c), sometimes reduced to vestiges (pls. 80d, 82d). 

Low bowls mostly carry a pattern of two segments (pl. 82/, fig. 3); sometimes 
a pair of centripetal stripes or horn-like curves, inside or out (pl. 82/, fig. 4); 
or, the area between the two segments is patterned (pl. 829). 

A definite characteristic is bilateral asymmetry of design (pls. 80d, 81f/, 9), 
the two quadrant panels on each side of the median line containing dissimilar 
designs. 

A few jar paintings can be described as elaborate (pls. 80d, 81g), but most 
patterns are simple, and all rather hastily drawn. 


Dr. Uhle calls the Black-on-white ware late, and there is no reason 
to suppose otherwise. The site C pieces shown in plates 8le, g, 82d—g 
are Black-on-white in manner although found in graves also contain- 
ing Three-color Geometric and Epigonal ware. The two styles there- 
fore overlapped in time. The priority of Three-color and Epigonal 
over Black-on-white is indicated (1) by the relative antiquity of Three- 
color at Pachacamac*® and Moche,* where it is pre-Late Chimu and 
pre-Inca; (2) by the relations which Epigonal bears to Tiahuanaco ; 
(3) by the wide diffusion of Epigonal and Three-color (Pachacamac, 
Ancon, Supe, Moche), whereas Black-on-white is limited to the district 
from Huacho to Lima,® even Supe having revealed none, and (4) by 
Strong’s determination of Epigonal (Tiahuanaco) as occurring in 
Middle Ancon I and II, Three-color Geometric being characteristic of 
Late Ancon I, and Black-on-white of Late Ancon II. 

All this suggests Black-and-white as the latest ware of Chaneay and 
the immediately adjacent valleys. In that case one should expect to 
find it more or less associated with Inca and Late Chimu. Yet Dr. 
Uhle discovered no piece of either style in his three Chancay ceme- 
teries; and his Ancon excavations also yielded none, although Reiss and 
Stiibel found some Inca ware at Ancon.® The relative paucity of these 
late wares at and near Chancay (a complete absence is hardly prob- 
able) is the more remarkable in that Late Chimu is well represented, 
at least in variants, at Pachacamace,’ and its influence can be traced 
easily as far as Chincha® and Pisco,® while Inca is of course pan- 
Peruvian. There is not a single stirrup-mouth in the Black-on-white 
Chaneay collection, nor any of the modeling or relief ornamentation 

3 Uhle, Pachacamae, pp. 35, 41, pl. 7, figs. 1-8, pl. 8, vs. pl. 13. 

4This series, XxXI, pl. 62. 

5 Am, Anthrop., u. s., in press, 1926. 

6 See the classification in Strong, this volume, pp. 187-189. 

7 Uhle, Pachacamac, pls. 13, 18. 

8 This series, xxI, p. 14, fig. 4. 


9 Specimens in the Peabody Museum of Harvard University and the Field 
Museum of Natural History. 


270 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


characteristic of Late Chimu. The stippled piece d in plate 81 perhaps. 
shows a remote influence of Late Chimu relief stippling, but the piece 
is Central rather than North Peruvian in manner. 

It must be concluded then that the valley of Chancay, and in some 
measure the adjoining ones, were not seriously invaded by the late 
stylistic influences of the Chimus and the Incas. This facet would 
account for the development of a definite local style at a date when 
in the remainder of Peru these were being submerged, or at best 
were struggling against competition as at Ica. For this reason, per- 
haps, it came about that the late Chancay style attained to a two- 
color scheme. Color variety had evidently been shrinking in Peru 
for a considerable time until the Inea influence partly reinvigorated 
it; compare the superseding of red-and-white Proto-Chimu and three- 
color Pachacamac by prevailingly black Late Chimu, and the reduc- 
tion at Ica: Proto-Nazca 4-6 colors, Middle Ica 3-4, Late Iea 3 
only, Inca 3-4. This general Peruvian tendency toward shrinkage of 
color scheme seems to have been carried to its undisturbed conclusion 
in the coast nook of Chaneay where for some reason it was not sub- 
jected to the color obliterating influences of Late Chimu or the color 
restoring ones of Inca. 

There are a few traits of Black-on-white which may be the result 
of indirect Inca influence or of influences affecting both. Such are: 
the frequent placing of handles low on the body of jars, the relatively 
sharp bottom, the knob or animal below the neck, the paneling of the 
design in quadrants. All these, however, are only remote suggestions 
of the aryballos: hints, if anything, that were remodeled to fit into a 
quite distinct and self-possessed style. Besides, the origin of the Cuzco 
style is not known. Dr. Uhle looks upon Chincha as having helped to 
form the Cuzco style. We need not go so far as to commit ourselves to 
this view, in the present state of imperfect knowledge, and yet must 
admit the definite possibility that the traits which Chincha, Cuzeo, and 
Black-on-white Chancay share are derived from a common though as 
yet undertermined source or set of influences, rather than that these 
styles are all of specific Cuzco origin. 


1926] Kroeber: The Uhle Pottery Collections from Chancay 


to 
~l 


THREE-COLOR AND EPIGONAL STYLES: SITE C 


The ware from site C, La Calera de Jecoan, is of several dis- 
tinguishable styles. It is well to state explicitly at the outset that these 
several styles occur again and again in association in the same grave.!° 
Many graves contain a preponderance of material in one style, and 
some contain one style exclusively. But these seem little more than 
normal variations of distribution, expectable from chance, especially 
with the number of vessels averaging less than 5 per grave." 


The Epigonal style was so named by Uhle on the ground of decadent 
derivation from the style of Tiahuanaco. It is well represented at 
Pachacamae, Ancon, Supe,'? and, in somewhat variant forms, as far 
north and south as Moche and Ieca.'* It seems however not to have 
been reported from the vicinity of Tiahuanaco itself; and Dr. J. C. 
Tello regards it as at least partly derivative from the old north Andean 
style of Chavin and Recuay and therefore only indirectly related to 
that of Tiahuanaco and perhaps its contemporary rather than suc- 
eessor.** Strong and Kroeber have also pointed out certain difficulties 
which the Uhle collections from Ica present toward the interpretation 
of Epigonal as derived from Tiahuanaco and have suggested the 
possibility of the reverse development. It must further be remem- 
bered that at Pachacamac, where Dr. Uhle first found and defined the 
Epigonal type, it occurs, according to his words, in the same graves 
with the rarer Tiahuanaco style.*® 


Whatever the origin and relations of the Epigonal style, its type is however 
clear, especially for the central Peruvian coast area. It is executed in 3 or 4 


10 The following are the proportions in the graves with larger series of 
specimens: grave 0: black on white vessels 6, three color vessels 2; 1: 2, 4; 
Mee weed Or 7s Oo, 4) 83:0, 45 13: 1, 25 1455, 2: 155 '3,.22 17: 0, 45 18: 225 
Pope eeecee, oy car 0, 15 2371; 4: 240 0-33 209 0, 37° S152, 1; 372e4, 1 
‘“Black on white’’ here includes all-white and red on white; ‘‘three color’’ 
includes four colors. The two groups correspond closely with the Black-on- 
white style on the one hand and the Epigonal and Three-color Geometric styles 
on the other. 

11 One hundred eighty-one vessels in 38 graves. 


12 Pachacamac: Uhle, pl. 5; Ancon: Strong, this volume, pl. 44; Supe: 
Kroeber, ibid., pl. 73. 


13 Moche: Uhle, JSAP, figs. 16, 19, pl. 6, figs. 1-8, and Kroeber, this volume, 
pls. 63, 64, 66; Ica: Strong and Kroeber, ibid., pl. 30. 


14 Dr. Uhle himself, in a recent letter, expresses the belief that part of the 
wares called Epigonal are not dependent on Tiahuanaco and perhaps anterior to it. 


15 This volume, 118, 120. 
16 Pachacamae, p. 22. 


272 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


colors—in the latter case a deeper red being usually added to R, W, B17—is 
crudely painted in impure pigments, and without lustre. The style is most 
pronounced in cylindrical, flaring, and low goblets and in low bowls. Among 
its most pronounced features of design are small white rectangles (usually in 
rows) each containing a short bar; square faces, with or without feather head- 
dresses, and with the nose joined to the upper border; panels with rays or 
stripes or bars; pairs of half-interlocked open spirals or curves smooth or ser- 
rated; double or triple bars or step-pyramids projecting from the rim toward the 
center of bowls, usually from opposite sides; large dots or small circles, espe- 
cially in rows. These elements appear in plates 83b-i and 84c. Hpigonaloid 
are also the jars in plates 84g, h, 85b, the last having been found near the surface 
at site E. Epigonal is perhaps the least numerously represented style at site C. 


The Three-color Geometric style is characteristic of site C, without 
being numerically dominant. It has been described from Pachacamac, 
Ancon, and with some variation from Moche.'* It is not represented 
in the Uhle collection from Supe although that valley lies but little 
north of Chaneay. It is here named Three-color Geometric to dis- 
tinguish it from the Three-color Interlocking of site E and of the 
valley of Lima;'® and from the Three-color Textile, as the Late Chincha 
and Late Ica?® styles may be called. 


Three-color Geometric is characterized by its restriction to R, W, B, its 
overwhelming or exclusive use of gometric as opposd to representative orna- 
ment, a mediocre execution, and a dull finish. Characteristic of its designs are 
red stripes or broadish lines on a white ground, their angles filled with small 
black-bordered enclosures which often contain a dot or dash. The red ‘‘frame- 
work’’ is most typically a step, a zigzag, or a pair of zigzag lines crossing to 
form a row of diamonds. The little black-bordered outlines are, correspondingly, 
rectangles, isosceles triangles, and diamonds. Compare plates 83a, 84a, 85d, 
e, h, 1, which agree closely with the Pachacamac, Ancon, and Moche pieces 
already referred to. 

Related to the foregoing are red-white-black diagonally disposed squares, 
zigzag bands between stripes, zigzag bands containing S-scrolls, and smaller 
figures. Compare plates 83/, 84d-g, 85c, f, 1, several of which lean toward 
Epigonal. 

On the other hand, the jars in plate 85a, h, tend in the direction of Black- 
on-white in pattern and shape, though still three-color. 


17 Nos. 6557, 6570, 6577, 6589, 6618, 6619, 6626, 6628 are four-color. The 
half dozen graves in which these four-color specimens were found, had Black- 
on-white vessels forming about one-third of their contents. No. 6570 is from 
grave 15, which held 3 B—W vessels out of 5; 6589 from 19, 7 B—W out of 8. 
The association of pure Black-on-white with the definite three and four-color 
Epigonal is thus certain. 

18 Pachacamace: Uhle, pl. 7, especially figs. 1, 4, 5; pl. 8, figs. 2, 3, 4; Ancon:, 
Strong, this volume, pl. 43i-k (Late Ancon I); Moche: Kroeber, this volume 
pl. 62 (3 vessels from 2 graves only, but important for lying below a Late 
Chimu grave). 

19 Uhle: Frihkulturen, especially figs. 4 (Chaneay), 5 (Pachacamac, but 
‘¢Geometric’’ as much as ‘‘Interlocking), 10 (Chaneay), 16 (Aramburt). 

20 Kroeber and Strong, this volume, pls. 11, 12, p. 17, fig. 6, 1924, and pls. 
32-38, 1925 (‘‘Late Chincha I’’ and ‘‘Late Ica I,’’ also in part ‘‘ Late Chincha 
II’? and ‘‘ Middle Iea II’’ and ‘‘ Late Ica’’). : 


1926] Kroeber: The Uhle Pottery Collections from Chancay 273 


Black-on-white is the third style represented at site C. A number 
of vessels from this site have been included in the illustrations of Black- 
on-white ware (pls. 8le, g, 82d-g). In all of these except plate 82f 
some trace of Three-color Geometric manner is present. Black-on- 
white constitutes a good-sized minority of the vessels from C. 


As Dr. Uhle points out, the Calera de Jecuan series is interesting 
precisely because it comprises three styles—elsewhere found pure but 
here associated—plus transitions between them. It shows how the 
Black-on-white grew as a local specialization out of the more widely 
spread Three-color Geometric, and how this, in turn, links with the 
Epigonal. As Epigonal has 4 colors at times and represents heads and 
figures, it is more different from. Black-and-white and therefore pre- 
sumably at the opposite end of the temporal series from it; that is, 
earliest of the three. This statement refers to the time of origin and 
culmination of each style as a style: there is no intimation intended 
that the particular series of vessels from site C were anything else 
than contemporaneous. The overlapping in period of styles is a 
familiar phenomenon in Peru. 


That Epigonal is on the whole the earliest of the three styles here 
associated contemporaneously, accords well with the opinion generally 
held of it, whether that be Dr. Uhle’s view connecting it with the 
Tiahuanaco style or Dr. Tello’s deriving it from that of the northern 
highland. The site C Epigonal is a late Epigonal—faces and figures 
most rudimentary, execution slovenly. The Epigonal of Pachacamae 
and Supe, on the other hand, is less decayed; and it is also associated 
with ware in a style presumably originating earlier—more carefully 
drawn in detail, showing up to 5 and 6 colors, hard surfaced, and 
polished—the coast variety of Tiahuanaco.*t| We have then, for this 
central coast area, the time sequence Tiahuanaco—early Epigonal— 
late Epigonal—Three-color Geometric—Black-on-white, established 
both by the unmixed occurrence of some of the styles and by the 
association, with transitions, of each with the adjacent ones. 


Of bearing on the relation between Epigonal and Three-color 
Geometric, is the fact that the Epigonal style is most marked, on the 
whole, in goblets and low bowls, the Three-color in jars. So, at Supe, 
the goblets, bowls, and double-spouts show most of the Tiahuanaco and 

21 Dr. Uhle calls it simply Tiahuanaco. But it is well to remember that in 
spite of its resemblances to the non-Inca ware from the Titicaca region, it differs 
from this. It has, for instance, forms apparently never reported from the 


Titicaca area—the double spout, bird and spout, jar with tapering face spout— 
besides numerous differences in designs. 


274 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


Epigonal manner, the jars more modeling and simple painting. At 
Pachacamac, again, a comparison of Dr. Uhle’s plates 3, 4 with 7, 8 
reveals the Tiahuanaco-Epigonal style most markedly in forms such as 
goblets, the Three-color in jars. In other words, Peruvian pottery 
painting styles show a tendency to erystallize in connection with cer- 
tain shapes on which they persist after other vessel forms have been 
introduced or have progressed to new shapes and ornamentation. 
This is a fact which must not be overlooked in the attempt to derive 
culture time-sequences from relations and associations of ceramic 
decoration. 


Rather remarkable is the practically total absence at Chancay of 
northern influences. There are very little modeling, almost no black- 
ware, and no Proto-Chimu or Late Chimu resemblances. The only 
stirrup-mouth is the hybrid form plate 85e, with wide flaring mouth 
and handles on the stirrup, painted in typical Three-color Geometric. 
It is a close counterpart of a Late Ancon I piece.” 

The bulk of the site C material is vessels of the same four shapes that 
constitute the overwhelming majority of the Black-on-white pieces from A, B, 
and D—jars, goblets, low and incurved bowls. In part this resemblance is due 


to the C series including Black-on-white specimens. In part, however, it is the 
result of the genetic relation of Three-color to Black-on-white. 





Form FREQUENCIES—PERCENTAGES 





Site C Sites A, B, D 
o) UPS Ny oh x es coe: op ae Un es 2 ol 49 
Low BOWS ee ee ee ee 13 27 
Ineurved t bowls 22.2 4284 3) eee 12 8 
Gobletsiciccsccs es ook ee ee 12 4 
Other formss.23332 eee 12 12 
To halite eee a ee eee 100 100 


Goblets have become less frequent in Black-on-white, bowls more frequent, 
jars remain constant. 


The following table shows more fully some of the variations between the 
lots, with the site C material subdivided according to color. It will be observed 
that the cylindrical goblet, high or low, has gone out, but the flaring goblet 
forms survive in Black-on-white; that the one-handled jar is almost extinct, 
but the unhandled figure jar has taken its place; and that handles are frequently 
set on the body in Black-on-white ware, more rarely in trichrome. The jar 
necks too are simpler in Three-color, as the plates show. The low bowl without 
the foot, and the incurved bowl with lip, seem typical of Black-on-white. 


22 Mus. no. 4-5595, this volume, pl. 43n, 1925. 


1926] Kroeber: The Uhle Pottery Collections from Chancay 

















270 
ForM FREQUENCIES IN DETAIL 
Site C Site C Sites A, B, D 
Jars— R-W-B* B-Ww* B-W 
One handle—from neck .................. 12 Uf i; 
Two handles—from neck ................ 25 23 23 
BP RUS ode nce cnc oop cceaceste go ani 6 ial 20 
—rudimentary or lugs ...............- 5 3 6 
Human figure, no handles .............. ee 1 93 10 60 
Low Bowls— 
AWaine hoo bee eet ok fet iat 27 
VALE OUDLMETOO ite ces eae ke eo te a ae 6 33 
Incurved Bowls— 
A VEEN ULL a) geet ere ee rece a 4 13 7 
QUOTED INU), Sa Lot ee oes 3) 22 2 9 
Goblets— 
CENT OPN 0 cc Oe ee -2 ed re 
JEN RSTO TD: oot a ee nee 7 J 3 
LO t: OLS pxeieeien see eset 2 ea 2 2 
Doweeyind rica i...2 2.23 ea LeaN 7 ees 22 2 7 
82 78 160 107 
ie taeOiIn Gabe ee Noe oe 21 15 
ANGI EEW TES = Pos (OE ee eee ey eee 181 122 


WHITE-ON-RED AND INTERLOCKING STYLES: SITE E 


The site E material is perhaps the most interesting from Chaneay. 
That from the other sites has the value of relating known styles; that 
from E shows two new styles—new at least at the time of théir dis- 
covery. Owing to conditions encountered, Dr. Uhle did not inventory 
his vessels from site E by grave provenience. His most typical speci- 
mens in one of the two new styles, the actually interlocking ones, were 
mostly found broken and often incomplete in graves containing 
intact white-on-red ones. His argument, as set forth in the appendix, 
is that the Interlocking culture was the earlier, and that subsequent 
people of a lower culture, of which the White-on-red ware is repre- 
sentative, used the larger sherds of the earlier period as corpse covers. 
On this basis, he inventoried his E material as ‘‘first period’’ and 
““second period.’’ However, he speaks of having succeeded in 
uncovering a few intact first period vessels, which had evidently been 

23 R-W-B in this table includes R-B, R-W, R; B—W includes W. Roughly, 
R-W-B here means Three-color Geometric and Epigonal; B—W, Black-on-white 
style; but form and pattern do not always agree with color scheme. It will 


be recalled that a few good Black-on-white style pieces from A, B, D show 
some red. 


276 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


found by the second period people in digging graves and had then 
been reinterred with their own dead. Actually the collection contains 
about four dozen whole vessels designated as ‘‘first period’’ plus a 
few similar ones of ‘‘second period’’ which are somewhat ecruder but 
essentially similar in type. Compare for instance plate 89f with 86f, 
and 90a with 86g. 

Plausible as Dr. Uhle’s interpretation of the situation at site E is, 
it is accordingly a subjective one. However, the objective facts as to 
association of specimens in the ground and within separate burials not 
having been obtainable or being no longer available, the collection will 





Figs. 5-7. White-on-red style jars; 5, C24—-6420 (found in association with 
Three-color and Epigonal ware, White-on-red in appearance, actually probably a 
base Epigonal specimen); 6, E-6833 (black, mammiform) ; 7, E-6986. 


be examined as divided by Dr. Uhle into lots El and E2. These two 
designations therefore do not, like Al or C36, refer to graves; nor are 
they employed with unreserved acceptance of Dr. Uhle’s view as to the 
lots being temporally distinct. They are used as enforced groupings 
which obviously conform in the main to a real distinction of some sort 
within the site E ware. 


THE WHITE-ON-RED STYLE E2 


The E2 ware is the more numerous. It is simple in form and 
simple in painting. The ware is light red, strong, fairly thick and 
smooth, unstudied but not unpleasing in shape. About 30 per cent of 
it is unpainted; the remainder mostly has simple white designs over- 
painted on the red, occasionally black on white, or black and white 
on red, or all white. There is a low proportion of black vessels—not 
very successfully smoked. Nearly all the pieces look utilitarian, but 
scarcely any show fire-blackening or other signs of use. Modeling is 
almost lacking, and where attempted very inept. There is no clear 
resemblance to Inca, Tiahuanaco, Chimu, Nazea, or any of the better 
known Peruvian styles. 


1926] Kroeber: The Uhle Pottery Collections from Chancay Pars 


The forms run wholly to bowls and jars, a full sixth of the collection being 
mammiform jars, large and small (pl. 86e; fig. 6). About half are ordinary jars, 
a third, bowls. Somewhat less than half the bowls have a lip (pls. 86, 87). The 
jars vary from almost cylindrical or globular forms without well defined neck 
(pl. 87f, 1, kK) to others with a cylindrical or even flaring mouth (pls. 86d, 879; 
fig. 8). Occasionally they are constricted one or more times, so as to resemble 
from two to four bowls set on top of one another (pl. 87a; fig. 9). These, with 
the crude pieces of plate 86f, g, a few vessels decorated with knobs or pro- 
jections (pls. 86e, 87g; fig. 8), and the breast forms represent the only attempts 
at non-utilitarian modeling. Not quite half the bowls and simple jars are 
handled. The bowls have the handles extending more or less horizontally, the 
jars usually vertically from the shoulder or neck; one-handled jars also occur 
(pl. 87f; fig. 7). There are no goblets and no cook pots; and none of the bowls 
has a foot, in distinction from the majority of low bowls from the Three-color 
and Black-on-white cemeteries. The subjoined list classifies the collection. 





Figs. 8, 9. Redware jars, White-on-red style; 8, E-6862; 9, E-6858. 


WHITE-ON-RED STYLE FORMS 


Bowls— 

PeGiGnnnet OW a Hari (Dl 81 G9) S02. 2. ate eens 14 

Lipless, low, incurved or vertical-walled (87d, e) 16 

Lipless, low, incurved, 2 handles (86a) —................ 6 36 

War heel pena CUT V.CCi (SOG 1 1p.) esecnc sn oc eee cen ee 6 

With lip, incurved, 2 handles (876) -..................... 18 24 60 
Jars— . 

Broad mouth, no definite neck (87i, k)-...........-..-.-- 14 

Broad mouth, 2-4 bulges (87a; fig. 9) -................... 4 18 

Mortentor faring neck) \(860,.d) -s..ct 2 cabhe. 22 


Vertical or flaring neck, 2 handles or knobs (fig.8) 25 
Vertical neck, 1 flat or round handle on neck (87f; 


HL TC) EN aaa saa a meter segs, 2) 1 WR Re nig 58 
IMCaAM TUE (OO sites Oy) eee rarer eee eee eee eee 30 30 
Cylindrical, with or without rim of knobs (87g) -.. 3 
Small mouth, large knobs or handles ..............-..--..--- 3 


PROM G BDOUL COOT ) creed att caret aren een 2 
Ey ror Be AECL pes le Rae VE ROR. Snaive Re es ers 3. FR LAs A 9 115 





278 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


As for color, the tabulation that follows shows the prevalence of white 
design and red ground color, but also that this scheme is not exclusive, even 
three-color occurring. 

WHITE-ON-RED STYLE: COLOR 


Aetually white on yred tease eee eee ee 99 
AT) Aya 6 exe oe eee an 5 Re aye ee tal eo ee ae 14 
Black -onmewhite: 2.5.2 2. 408 ce eae te 5 
Bisel: ands whitexomy rd aes ene ree ere ee ene 6 
Smoked black: i.222e ee ee Cae ee ee 3 
Plain®™ red ware’ 2222055, 3 ee eee eee 35 

1 


Any 


i 
S| SSAA EY \Sa ss cos San 
Sanu \S i Ny RY 
WS Kaw 
= RK 


mI | 


Seep 


doin 
Sgt 


. IN 
We 


Yuet 
6 


a 
— 


0m, D 
Vege 
Lee Mitt100 


Us, 75 


NSS 
SNH 


O.3 


Re LLILET Sieg, 


hl 5 


gn. 
VW ‘4 





Fig. 10. Cylindrical vessel, Interlocking fish pattern. R-W-B. E-6734. 


Designs are notably simple: dots, small circles, bars, angles, zigzag lines, 
diamonds, crossed lines. These are usually aggregated in from 2 to 5 rows or 
parallels. The dots and circles also come in clusters, follow lines, or fill spaces 
between them. The execution is as crude as the scheme is artless. 

A few patterns (pl. 87b, i) look as if they might be reductions from the 
triangular patterns common on the El Interlocking style vessels, but such 
interpretation must be advanced with reserve. Designs as simple as these 
White-on-red ones might be derived from almost any antecedents, and a linking 
would be legitimate only in the face of specific transitions. 


1926 | Kroeber: The Uhle Pottery Collections from Chancay 279 


THE INTERLOCKING STYLE E1 


The lot of vessels designated as El by Dr. Uhle really comprises 
two or three groups which have little in common except the absence 
of the specific White-on-red characters of the E2 lot just discussed. 
Somewhat more than half of the series (a) consists of bowls and broad 
eylindrical jars with an interlocking fish, fret, or triangle pattern in 


ESSSSS99 


» 
Kan 


LY ‘ 


Fa 
; NE 


SSS NS 


AQAARIIES SS D 
Oo tee 5 





Fig. 11. Cylindrical vessel, Interlocking fish pattern. R-W-B. E-6739. 


three colors. The smaller half of the series (b, c) varies greatly in 
form and color, shows as much modeling as painting, and connects 
with the interlocking style pieces chiefly, and somewhat dubiously, 
by the presence of several conventional fish designs, although these 
stand solitary and free. 

(a) Most of the true interlocking ware is broken, as stated by Dr. Uhle. 
The number of whole pieces, or such as can mainly be reassembled, is scarcely a 


dozen. About twice as many more are represented by sherds, some of them 
large, allowing the reconstruction of the pattern. This is always in three colors, 


280 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


fundamentally R, W, B; but the red is sometimes pale, sometimes brownish, 
always dull, and the white runs often to yellow, buff, or gray, while some of the 
black is grayish.24 The pattern is therefore not salient, and in many eases 
is impossible to photograph. Its essential trait is an interlocking of the ele- 
ments, the engaging ones of which are in contrasting colors and between them 


» 


: 
N : 
$ 
CCE i 





Fig. 12. Cylindrical vessel, Interlocking style. R-W-B. E-6740. 


fill the decorative field. These elements are fishes, or possibly sometimes 
snakes, with triangular heads, and bodies bent on themselves and sometimes 
serrated (pl. 88c; figs. 10, 11,.15, 19, 22, perhaps 18). In borders there is an 
interlocking fret which seems to be a reduction of the same fish motive 
(pl. 88c, d,25 perhaps 89i; figs. 10-14, 16-17; fig. 19, similar but without inter- 


24 The firing of the pottery was not infrequently uneven and unskilful, and 
several specimens have bulged or flattened during the process, as also in the H2 
ware and that from site C. 


25 Uhle, Frihkulturen, fig. 10. 


1926] Kroeber: The Uhle Pottery Collections from Chancay 281 


lock; fig. 20, with step). Perhaps related are triangles that suggest much 
reduced faces. These interlock, but do not contrast in color (pl. 89a, g; fig. 13). 
Other elements which are more or less worked into the interlocking scheme are 
zigzag lines (pls. 88d, 8971; figs. 12, 14) and rows of dots (pl. 88d; figs. 12, 14, 
19); as the illustrations show, these tend to associate. These designs are dis- 
cussed in Dr. Uhle’s report on his collection, printed below in the Appendix. 


cA 
WSSESASAARRREEEREREEETTT SN 
K\ I 


. 





Fig. 13. Cylindrical vessel, Interlocking style. R-W-B. E-6748. 


Somewhat similar ware was found by Dr. Uhle at Aramburt in the valley 
of Lima,?¢ though there the fret and a step are more in evidence than the fish; 
and he adduces a fragment from Pachacamac, secured by him long after his 
classic excavations there.2’ As he also points out, the interlocking fish pattern 
is found in Proto-Nazcea; and it is from Proto-Nazca influence that he derives 
the present style.28 

(b) A few jars seem related to the foregoing group through being painted 
with a serrated fish, usually single. One of these is a cylindrical jar like those 


26 Frihkulturen, fig. 16. 

27 Tbid., fig. 5. See also Uhle, Pachacamag, figs. 26-28. 

28 Friihkulturen, p. 356 seq. The five vessels shown in fig. 7 are obviously 
from Nazca, as the text suggests, not from Chancay as the legend states. 


282 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


of group (a); the others are mammiform, flat, or double-spouted (pls. 88b, 88e; 
fig. 21; also pls. 88a, 90d, whose form and texture ally them with the following 
group). 

(c) Finally, there is a varied assortment of pieces: double-spouts (pl. 89f, 
ef. 88a; fig. 26); bird or animal jars, poorly done (pl. 90a-c); human figure 
jars, rather mediocre in modeling (pl. 90e, f, h), and crude jars with heads 
(pls. 89e, 90g); blackware bowls (pl. 89b, d); a thin-spouted jar (fig. 24); a 


OTM TA AAA A 
) 


SSS RRR 
S 
Aes 


NY 





Fig. 14. Cylindrical vessel, Interlocking style. R-W-B. E-6745. 


striped pitcher and jar (pl. 89e, h); a projection or knob of a very large jar 
(fig. 25); and a large flattish or mammiform jar with a design of a hexagonal 
face (pl. 88f). These are the most distinctive pieces. The face on the last 
mentioned relates to a face among the interlocking fish on plate 88c (fig. 10).29 
Broad stripes appear in this group in plates 89e, f, h, 90b (ef. also fig. 24). 
The serrated fish of plates 88a and 90d has already been mentioned in connection 
with the preceding group. 


29 Another face appears on the jar pl. 84b, which is ‘‘superficial’’ from E. 
The ‘‘frame’’ of this face suggests the serrated fish design; the ends of the 
serrations are Three-color Geometric; and the face is like Epigonal ones 
(pl. 83e). 


1926] Kroeber: The Uhle Pottery Collections from Chancay 283 


RELATIONS OF THE TWO STYLES AT E 


The material from site E is difficult to understand. The White-on- 
red, E2, is a definite style. So is the true Interlocking, Ela. That 
most of this was found fragmentary, whereas the White-on-red col- 
lection is prevailingly whole, goes to support Dr. Uhle’s explanation 
that people of one culture interred in the cemetery of another. How- 
ever, there are whole interlocking pieces; and there may have been 
many broken white-on-red ones.*° 


Lig 


L/P 







































































Fig. 15. Incurved bowl, Interlocking fish pattern. R-W-—B on unpainted 
ground. E-6746. 


A further complication is introduced by the heterogenous material 
which Dr. Uhle has allotted to his El period. The Elb group might 
be construed as still related to the interlocking Ela. The Elec lot can 
certainly not be so interpreted on the evidence of its own forms and 
designs. It is not only free from trace of interlocking patterns but 
quite variable inter se in every respect, even as regards texture. More- 
over, if Elb and Ele are classed with Ela into a single E1 style, the 
number of whole vessels in this style becomes too great to accord well 
with Dr. Uhle’s explanation that the E2 people encountered the El 
vessels in the ground and, purposely or in digging, broke them.*! 

30 Dr. Uhle has paid more attention to sherds than most collectors in Peru; 
but he saved only those that seemed significant through a distinctive pattern. 
With nearly 200 entire vessels in hand, he would hardly have collected frag- 
ments of a ware so crude as White-on-red. Most of its fragments at that would 


be plain red and unmodeled: the sort. of sherds that occur at all Peruvian 
coast sites. 

31 His published statement, Friihkulturen, p, 353, allows for more whole El 
vessels than his field report (Appendix, p. 297): ‘*‘Das Merkwiirdige.... 
ist, dass sich in ihren [E2] Grabern fast immer einzelne Gefasse, oder Reste 


284 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


It remains to consider the affiliations of the styles. 

Dr. Uhle regards the White-on-red Chanecay style as related to the 
primitive or shellmound cultures of Ancon and Supe,*? but ‘‘a little 
different.’’** He holds that ‘‘the white painted rings and lines are a 
simple translation of previously engraved ornaments into painted 
ones, under the influence of their more advanced instructors [and 
predecessors, the El people].’’** This opinion seems venturesome. 
The step from incision to paint is not necessarily taken lightly by a 
people; and as to the designs themselves, the incised ones from Ancon 
and Supe have nothing actually in common with the painted ones from 


wd. 
a 
YA 





Fig. 16. Ineurved bowl, Interlocking fish pattern much reduced. 
R-B, inside unpainted. E-6781. * 


Chaneay except the comparative simplicity of both. Even the tech- 
nology, the color and texture, of the wares are considerably different, 
as are the forms. Nor can I see much relation between Ancon-Supe 
primitive ware and Proto-Nazea, which Dr. Uhle alleges.** It appears 
rather that after his discovery of Proto-Nazca in situ, he was so 
impressed with the antiquity of this style, that, not encountering it on 
the central coast, he equated with it, or rather derived from it, the 
simplest and presumably earliest culture which he found at Ancon 
and Supe. At Chanecay then, where the E1 Interlocking vessels do 
von einem hoch kultivierten Volke neben ihren eigenen ganz primitiven Topf- 
erein fanden .... Einzelne hervorragend schodne [El] Gefasse waren von 


ihnen [E2 people] aufgehoben, wahrscheinlich bentitzt und dann mit beigesetzt 
worden. ’’ 


82 This volume, pls. 48, 79. 34 [bid. 
33 Frihkulturen, pp. 352, 353. 35 Ibid., p. 356. 


1926 | Kroeber: The Uhle Pottery Collections from Chancay 285 


bear indubitable Proto-Nazca resemblances, he construed the associa- 
tion of these with the simple White-on-red as one of priority and 
sequence on the spot, and therefore derived the White-on-red from 
the incised Ancon-Supe and approximated it in time. This derivation 
and approximation perhaps influenced him to see a resemblance which 
is hard to discover.*° 

It is well to remember in regard to the primitive fishing or shell- 
mound culture of Ancon and Supe that the antiquity of this does not 


fly, 
ee W/, WL SELENA "Uitte... “Uf Y S 
FO AE Limi Mf, 


No, a 7 ”/ shah, 


lecrarhesstienrressenll 





Fig. 17. Incurved bowl fragment, Interlocking style. R-W-B. E-6803e. 


rest on stratigraphic evidence but on its being found unassociated with 
other ware, on its simplicity of style, and on its use of incising which 
is a rare Peruvian technique. Its chief claim to antiquity is its lack 
of clear relation to known Peruvian styles, not any determined rela- 
tion. This lack constitutes good presumption, but no proof of 
antiquity. As a matter of fact the co-occurrence in place and time of 


36 The Uhle scheme seems to be: Earliest, Proto-Nazca. Next, derived from 
this, Proto-Lima, of which Chancay E1 Interlocking is a form or variant. Also 
influenced by Proto-Nazca, or related to it and therefore more or less contem- 
porary with it, is the primitive incised ware of the Ancon and Supe fishermen. 
The Chancay E2 White-on-red style is a development out of the incised Ancon- 
Supe style under some degree of influence of the El Interlocking. In Los 
Principios de las Antiguas Civilizaciones Peruanas, Bol. Soc. Ecuat. Estud. Hist. 
Am., Iv, no. 12, p. 11, Uhle makes the ancient fishing culture of Ancon con- 
temporary with the Proto-Nazca of Chincha and Pisco (est. ¢. 100 B.c.-50 A.c.), 
but continues early and later Proto-Nazca to ¢. 650 A.D. 


286 University of California Publications in Am. Arch. and Ethn. [{ Vol. 21 


distinct styles is so common in Peru** that the living side by side of 
strata or elements of population largely or wholly using ware of 
different styles must always be reckoned with as a possibility. <A 
group of people subsisting more on fish than on corn would certainly 
follow different habits from their contemporary agricultural neighbors 
and might easily make a somewhat different ware. That they used 
nets is expectable, and that they had more baskets than cloth might 
be a result of either poverty or specialized habits of life. The oeccur- 
rence of llama bones among the remains at Supe*® sug- 
gests more intercourse with the highlands than an extremely ancient 
and backward ethnic unit of the immediate coast might be expected 
to have had. 


ce Pak 


primitive 


em 





Fig. 18. Bowl fragment, Interlocking style. R-W-B. E-6803h. 


In short, the high antiquity of the primitive fishing or shellmound 
culture of the central coast remains to be established by more direct 
evidence than is yet available. Its connection with the Archaic of 
Mexico is uncertain. And in any event the inclusion of Chancay 
White-on-red in this culture is unsubstantiated. 

I should be somewhat hesitantly inclined to connect the White- 
on-red with the simpler non-‘‘shellmound’’ redware of San Nicolas 
at Supe, which is often painted in eireles, dots, scrolls, lines, and 
crosses in white or in white edged with black ;*° and with the redware 
which Strong has described as Middle Ancon I and II;*° both oceur- 
ring in definite association with Epigonal and ‘‘Tiahuanaco’’ ware. 

37 For instance, at Ica, Chincha, Supe, Moche, this volume, pp. 117, 49, 241, 
207; and Uhle himself, Pachacamace, pls. 13, 18. 

88 This volume, 263. 

39 Ibid., 249, and pls. 72a, 73i, l, 74f, 78g, k. 

40 Ibid., 145, 148, 157, pls. 45, 47. 


41 That is, Tiahuanaco as a generic Peruvian style as conceived by Uhle, 
rather than the specific style of the immediate Tiahuanaco region. 


1926 } Kroeber: The Uhle Pottery Collections from Chancay 287 


As regards the non-White-on-red ware from site E, the relation 
affirmed by Dr. Uhle with Proto-Nazca is indubitable, especially for 
the Ela group. It remains to delimit this relation. 

Definitely Proto-Nazca are the interlocking fish designs. Probably 
so are the triangular ‘‘abbreviated faces.’’ The eylindrical jars are 
somewhat similar to Proto-Nazca shapes. As limitations on these 
resemblances there is first the fact that while the interlocking fish 
design occurs in Proto-Nazea, it is by no means a specially common 
decorative motive there.*? Second, while the trophy head often occurs 
in Proto-Nazea in conventionalized reduction, a triangle is not its usual 
form there, and I do not recall its employment in alternatingly 





Fig. 19. Large sherd, fish pattern, Interlocking style. R-W-B. E-6741. 


opposite directions to form a whole pattern. Most of the Proto-Nazea 
style, in fact, is not represented at Chanecay at all. The free dis- 
position, the curvilinear and often florid treatment, the color variety, 
the specific pigments of Nazca, are lacking. The Chaneay Interlocking 
low bowls are shaped not like those of Nazca, but more like the 
ineurved ones of White-on-red (E2) and Black-on-white Chaneay. All 
in all, but a small portion of the Proto-Nazca style recurs in Inter- 
locking; and that additional ‘elements of Proto-Nazea are related to 
certain features of Proto-Lima ware,** makes the relation of Interlock- 
ing to Proto-Nazea more convincing, indeed, but not greater in amount. 

The (b) and (c) groups of the El material also show relation to Proto-Nazca 


without being more than partly dependent on it. The serrated fish has proto- 
types in that style. Plate 88a particularly, as Dr. Uhle affirms, is close to Proto- 


42 University of California collection from Nazca, 10 pieces out of 560; 
Museum of the University of San Marcos in Lima (as exhibited in 1925), 6 of 
about 550. 

43 Frihkulturen, figs. 17, 18. 


y 
Z 

y 
y 


y 
% 


) f valli 





1926] Kroeber: The Uhle Pottery Collections from Chancay 28 


ite) 


Nazea in conception and treatment; 90d less so, just as its shape departs more 
from Proto-Nazea forms.44 It is significant that the Chancay double-spout jars 
resemble the pure Proto-Nazca ones in having their spouts parallel and eylin- 
drical, whereas in Peru outside the range of the Proto-Nazca style the spouts 
spread and taper. This criterion may have led Dr. Uhle to class the double- 
spout in plate 86f as E2 rather than El: not only is it crudely smeared with 
white ornament on red ground, but its spouts diverge.45 The bird and animal 
jars of plate 90a—c are not in true Proto-Nazea style but do resemble vessels 
found in the Nazca district, patently related to the Proto-Nazea manner, and 
apparently derived from it. There are several such in Dr, Uhle’s University of 
California collection from Nazea. 


This makes a total of two or 
three vessel shapes and two or three 
designs or patterns in the E1 style 
that can be brought into positive 
relation with Proto-Nazea. This is 
enough to establish positively a re- 
lation between them; but the rela- 
tion falls much short of being over- 
powering. 

The following inferences seem 
the only ones that can safely be 
drawn. The ceramic material from 


Chaneay site E falls into two stylis- Fig. 22. Jar neck, Interlocking fish 
pattern, abbreviated. R-W-—B. E-6803. 





tically distinct series, plus a certain 
number of vessels that affiliate more vaguely. The distinct E styles 
were associated under conditions of record which render it possible, but 
leave it unproved, that their interments were made at different periods. 
All the E material is virtually free from admixture with Epigonal, 
Three-color Geometric, and Black-on-white, both as regards whole spec- 
imens and traceable stylistic influence. It must therefore be regarded 
as falling in a separate time and this time can hardly have been other 
than antecedent. The Interlocking style E1 contains certain Proto- 
Nazca elements, worked over under a rigid stylicization. Much of this 
stylicizing, however, is in conformity with the general tendency 

44It is well to remember that the Three-color Textile style (Middle and 
Late Ica, Chincha) makes abundant use of fish motives, and that these often 
show serrations. 

45 Incidentally, the separation of this piece from the other double-spouts 
illustrates the entire situation as to material from site E. There is nothing in 
the objective record to prove this specimen (pl. 86f) different in circumstances 
of deposition or in age from those shown in pls. 88a, 89f, and fig. 26; but 
stylistically it surely belongs to a separate group. Whether these two styles 
represent two successive periods, overlapped in time, or coexisted, is a problem 
on which Dr. Uhle’s insight and experienced judgment are of the greatest 


weight, but on which no man’s opinion can wholly take the place of a demon- 
stration by direct archaeological evidence. ; 


290 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


toward three-colored geometric patterning which is observable on the 
eoast from Trujillo to Arica. Something of the specific Chancay 
Interlocking style has been traced as far as Lima and Pachacamace, 
but apparently as a minor constituent of the Proto-Lima wares there. 
The White-on-red style E2 cannot yet be related to the ‘‘primitive”’ 
styles of Ancon and Supe. Its simplicity makes the recognition of its 





Fig. 23. Mammiform jar from site E. R-W-—B on reddish ground. E-7030. 





26 


Fig. 24. Jars and fragment attributed to Interlocking style. 24, E-6759; 
25, E-6791; 26, H-6760. 

affiliations difficult ; but there is nothing serious to prevent its accept- 
ance as a local variant of the redware, simply painted in white, black, 
or white and black, found at Ancon (Middle I and II) and Supe 
(San Nicolas) in association with Tiahuanaco and Epigonal ware. 
As to the time relation of the Interlocking and White-on-red styles, it 
is probable but undemonstrated that, as Dr. Uhle contends, the Inter- 
locking (E1) is earlier than the White-on-red (H2). 


1926 | Kroeber: The Uhle Pottery Collections from Chancay 291 


CONCLUSIONS 


The Uhle excavations at Chaneay revealed pottery in five styles, 
which, in probable order of age, are: 
Black-on-white (latest) 
Three-color Geometric 
Epigonal (3 and 4 color) 
White-on-red 
Interlocking 


The Black-on-white occurs pure in three cemeteries. It is mixed 
with Three-color Geometric and Epigonal in one cemetery, the associa- 
tion occurring in many graves. As this mixed cemetery, C, les close 
to one of the pure cemeteries, B, it is unlikely that they represent con- 
temporaneous settlements of people of different culture. It is likely 
that the mixed cemetery dates from a period of transition between 
Epigonal, Three-color, and Black-on-white. The available data from 
Ancon indicate Black-on-white as latest of the three. Stylistically, 
the mixed cemetery at Chanecay confirms, some of its Black-on-white 
specimens showing Three-color and Epigonal leanings and vice versa. 

As between Three-color and Epigonal, the Chancay excavations 
.allow no conclusion as to priority, but Three-color is a constituent of 
Late Ancon IJ, and Epigonal of Middle Ancon II. 

White-on-red (E2) is a simple, fairly distinctive, and hitherto 
undescribed style. It has some degree of similarity to Middle Ancon 
I; to the style of San Nicolas at Supe; and possibly to the three styles 
at Chaneay just discussed. It bears no notable resemblance to the 
incised ware of the supposedly primitive fishermen or shellmound 
dwellers of Ancon and Supe. It is definitely Central Peruvian in 
character. It has not been found in association with the three pre- 
viously mentioned styles of Chancay. 

The Interlocking style (E1) has been found in Chaneay only in 
association with the White-on-red, under circumstances which render 
it probable that the Interlocking is earlier but fail to establish absolute 
proof. These circumstances are the occurrence of Interlocking mainly 
in fragments, and the occurrence of entire Interlocking vessels chiefly 
or wholly in graves whose main content was entire White-on-red 
vessels. 


292 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


The Interlocking style has considerable affinity with Proto-Lima. 
It has also specific similarities with Proto-Nazea. But these Proto- 
Nazca similarities are few. The most frequently oceurring one is the 
Interlocking fish pattern, which is present but uncommon in Proto- 
Nazea. The Interlocking style therefore represents a special channel- 
ing of certain selected streams of Proto-Nazea influence. 

Typical Interlocking and typical White-on-red have little in com- 
mon. While there are vessels which furnish some measure of connec- 
tion, they also blur the temporal separateness of Interlocking and 
White-on-red. 


1926] Kroetver: The Uhle Pottery Collections from Chancay 293 


APPENDIX 
REPORT ON EXPLORATIONS AT CHANCAY 


By Max UHLE 


La Calera de Jegoan [Site C] 


La Calera de Lauren [site B], where White-and-black pottery was 
obtained, is the southeastern slope of a small mountain or range 
rising about 200 meters above sea level. The northern or interior side, 
facing the Andes, forms another smooth slope of stony soil, named 
the Calera de Jegoan [site C]. The two Caleras are connected by a 
pass about 80 m. high. Near it are old Spanish copper and silver 
mines, entered from the Calera de Jegoan. 

While the Calera de Lauren [site B] is partly occupied by adobe 
ruins and deep graves in the sandy soil, the Calera de Jegoan [site C] 
shows different remains. The ground is filled with foundation walls 
of stone, and a gravefield about 1 km. long and 0.5 km. wide extends 
round them. This cemetery has been excavated by huaqueros, but 
enough remained for successful scientific exploration. 

While the burials of the Calera de Lauren [site B] seem nearly 
to touch Chimu and Inca time, and represent the style commonly 
known as that of Chancay, so that ‘‘type of Chaneay’’ and ‘‘ White- 
and-black ware’’ are found here to have the same meaning, the civiliza- 
tion represented by the graves of La Calera de Jegoan [site C] is quite 
different. It is so different from everything that has been known 
from the valley of Chanecay, that the exploration made at this cemetery 
took on almost the character of a revelation. The fact is that the 
earlier settlement at the foot of these hills was at La Caleta de Jegoan 
[site C]. The burials show a continuous development from the Epi- 
gonal (period 2 of Pachacamac), through Three-colored pottery 
(period 3 of Pachacamac), to the older and middle phases of the 
White-and-black pottery of Chancay. It was unexpected and interest- 
ing to find here the same types of pottery as in the cemetery around 
the temple of Pachacamac. It was further interesting to follow the 
origins and development of the typical White-and-black pottery of 
Chaneay and to see how the contents of the burials proved of them- 
selves.the succession and development of one style from another. And 
lastly it was interesting to see how many of the Ancon finds, which 


294 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


there appear isolated, get their explanation from the stylistic develop- 
ment revealed by this Chaneay cemetery. It is evident that through 
many periods the culture of Ancon was dependent on that of Chaneay, 
as is natural from its proximity. Also the nationality was the same, 
since the same tribe is said to have extended to the river Chillon; and 
it is in this area that the white|-and-black] pottery is the most common. 

Excavations were made in the southwestern, eastern, and north- 
western part of the [site C] cemetery. The graves were 1.2—1.8 m. 
deep, and sometimes very close together, each burial occupying 1.4 
sq.m. Fabrics, other perishable materials, and mostly bones also, were 
decayed. 


Huaral Viejo, Hacienda Guando [Site D] 


The graves here belong to the time of the black-and-white pottery 
of Chaneay, and are therefore later than the remains of the Calera of 
Jegoan [site C], and prove the ruins of Huaral Viejo to have been late. 

Some courts, surrounded by walls, represent family burials, and 
contain each several well-lke tombs. Most of the graves of the 
cemetery had been opened before. I excavated one burial in a court 
in which no grave had been: previously opened. It was about 5 m. 
deep, the sides 1.9-2.1 m. long. The mummy bale at the bottom, 1.4 m. 
wide and about 1.8 m. high, consisted mostly of grass, and contained 
only a bundle of the- bones of an incomplete skeleton of a youth; also, 
very few fabrics could be collected, while in the upper part of the 
well there were several fragments of injured fabrics, besides skulls. 


Cerro de Trinidad [| Site KE] 


My report and catalogue up to here refer to excavations made at 
Lauren [B], at Jegoan [C], at Huaral Viejo [D], and in the plain at 
the northwestern foot of the Cerro de Trinidad [A], a spot vulgarly 
ealled La Mina from the mouth of a mine in the foot of the mountain. 
All these excavations, although interesting as representative of a long 
period of the history of the valley and of the origins and development 
of its culture from another source, namely the civilization of Tia- 
huanaco, nevertheless showed no new types of civilization. In this 
regard the investigations begun on June 20 [1904], on the southern 
slope of the Cerro de Trinidad, were different. This rock, about 150 m. 
high, separates the valley of Chancay proper and the port, from a 
long flat strip of land which from its salty meadows is known as Las 
Salinas. These latter extend to the small valley of Pasamayo, about 


1926] Kroeber: The Uhle Pottery Collections from Chancay 295 


two miles away, through which the river of Chancay empties into 
the sea. The Valley of Chancay for about twelve miles up from the 
sea has no river of its own, being irrigated only from ditches, like 
a delta, and is separated from the valley of Pasamayo by the small 
mountain in question. ; 

I had for some time observed curious lines on the western slope 
of this Cerro de Trinidad, and on the neighboring hills to the south- 
west, which had the appearance of being divided into fields. Much 
refuse consisting of stones, clay, and fragments of pottery mixed with 
a few shells, from one to several meters thick, hes there over a con- 
siderable area. On coming nearer, one gets the impression that the 
apparent divisions into fields really are old walls once separating 
houses and yards, but now decayed to the level of the soil. Where the 
ground breaks off bluff-like on one side, one distinguishes traces of 
walls, probably of terraces, filled within (and also outside, but in 
different manner) with the before mentioned refuse of stone, clay, 
pottery, etc. Occasionally, also, I observed traces of walls constructed 
of balls of clay, which according to my experience always point to a 
remote age. In the plain which lies between the Cerro de Trinidad 
with its neighboring hills on one side and the port on the other, there 
are large cemeteries.*® These have been exploited nearly to the last 
grave by huaqueros. But fragments of pottery, and textiles lying 
about as waste of the booty, indicate infallibly that these cemeteries 
originated only in the latter period of Peruvian antiquity, especially 
that of the well known White-and-black ware of Chancay. In time I 
econvineed myself also that the seeming lines of field divisions were 
constructions of this same White-and-black period. On the other hand, 
the refuse material which had been piled up to level the surface, and 
most of the pottery fragments in it, are of older date. So are certain 
wall remnants, especially those of adobe balls, below the refuse fill. 
But it would have been useless to undertake excavations with the hope 
of bringing into clearer light these signs of a higher antiquity. 

Up to about twenty years ago, the town of Chancay was connected 
with Ancon by railroad. This railroad crossed the low ridge separat- 
ing the region of Las Salinas from the plain and port of Chaneay, and 
cuts had been made in its construction. In one of my excursions on 
horseback undertaken for the purpose of reconnoitering, I passed 
through these railroad cuts and observed fragments of pottery painted 
in a distinctive style, unearthed when the cut was opened. The 


46 These cemeteries would seem to include site A, or to have been near 
it.—Ed. 


296 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


southern slope of the Cerro de Trinidad on both sides of the railroad 
grade is pitted nearly to the top of the hill, the pits being filled with 
stones. Here and there small potsherds were found in the pits, but 
their decoration was entirely destroyed by time. I was attracted by 
the distinctiveness of style of the fragments in the cuts, though at 
first sight I attributed a post-Tiahuanaco origin to them. A very small 
number of similar sherds had been recovered at Pachacamac in 1896 
at considerable depths between the adobes of the platform of the 
ancient temple of Pachacamac, and were reproduced in my work on 
Pachacamac,** since they were different from all other finds in the 
town. I had then also assumed a post-Tiahuanaco origin for them, 
suggesting that they were remnants of vessels broken by the masons 
during their work on the temple. Now I see that this pottery dated 
further back, and that its fragments were laid between the temple 
adobes for some other reason. In any ease, it was important to follow 
the clue given by the painted fragments in the cuts, and careful 
excavations were undertaken. I am justified in saying that thousands 
-and millions of such fragments are buried in the soil [of site E]. 
The fill material on the western slope of the Cerro de Trinidad, serving 
as base for the later Chaneay construction, must also contain an 
innumerable quantity [of the same kind of sherds]. But rarely has 
it been so difficult as here to find complete vessels. The discovery of 
a number of vessels sufficient to show their age and history, was 
extremely slow work. It was a labor full of experiments here and 
there, many of the experiments failing. My tenacity would not be 
shaken, but in the end I owed the best of my results to a gradually 
acquired understanding of the complicated condition which in the 
course of time had led to the nearly complete annihilation of the 
original remains. 

I began by excavating some of the stone-filled pits on both sides 
of the abandoned railroad, but soon found that they contained nothing 
besides some pottery fragments and occasionally a skeleton. Certain 
spots within the range of the pits were level and sandy. Excavations 
undertaken in one or another of these spots showed undisturbed 
burials, though the pottery in them was different from that of the 
fragments in the pits and cuts. Most of these graves were extremely 
superficial, from 0.4 to 1 m. deep. The body had its legs drawn up, 
and was generally laid on one side. Rarely was the position sitting 
upright. The body was mostly reduced to the smallest possible extent 


47 Figs. 26, 27, 28. 


1926 |} Kroeber: The Uhle Pottery Collections from Chancay 297 


in length, often nearly crushed, in order to be huddled under large 
fragments of big vessels, which in all burials arched over the body. 
Large broken stones, like those in the pits, generally protected these 
large sherds from above and the sides. This was a new type of burial 
in Peru. It had some similarity with burials made in pots [at Ica] 
in so far as pottery was used; but these sherds served as protection 
from above, not, as did the pots, as protection against the moisture 
of the soil from below. In some respects this new kind of burial had 
a barbarous character: first, in its extreme superficiality ; second, in 
the simplicity of the potsherd construction in place of more elaborate 
contrivances; third, in the forced position of many of the skeletons 
under the potsherds. Some of the graves contained one or two vessels 
at the sides of the skeleton under the covering potsherd. In many 
graves there were several large covering sherds, one above the other, 
frequenty broken by the weight of the soil above. 


The next observation was that while the pottery vessels at the sides 
of the bodies were generally simple, with ornamentation mostly of 
mere white lines, dots, or rings on a reddish background, the broken 
pottery used in the construction of the graves bore a different char- 
acter. These had once been large vessels, often with strong hollow 
handles, sometimes of curious shapes. Several of the great sherds 
from them were painted in the same style as that shown by the 
thousands of fragments with which the ground was filled. These large 
vessels had been intentionally broken for use in the graves, and on 
many were still to be seen the marks of blows. 


By these signs I was led to the conclusion that the burials here 
belonged to a people of later date than those who made and painted 
the large vessels; and that the later people had re-used this finer and 
older pottery, which they probably found in previous burials, for 
their own burials. Pursuing my excavations, I also occasionally found 
unbroken vessels of the older type at the sides of skeletons, together 
with vessels of the simpler later type; an observation which served to 
corroborate my assumption that the later people had largely made use 
of objects manufactured by the earlier people. 

I proceeded to excavate more of the sandy spots among the pits in 
different parts of the slope of the Cerro, but never came across an 
intact burial of the earlier civilization. JI am inclined to assume that 
all graves of the earlier civilization were destroyed by the later people 
who rifled their contents. 


298 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


The large stone-filled pits represent graves which have been opened. 
But I am inclined to think that these graves belonged to the later or 
second people, and were opened still later in prehistoric time; for this 
reason: The whole area of pits on the Cerro slope was intersected by 
level paths. I inferred that the people who opened most of the ancient 
cemetery might have spared the paths for convenience; and it proved 
that while no intact graves are now to be found between the paths, 
the narrow lines of the paths themselves were still full of such burials. 
These graves belonged to the later people, that of the simpler pottery ; 
and to them also must have belonged the burials outside the paths 
which are now represented by pits. These burials under the paths 
were of the same character as the shallow ones in the sandy spots, and 
yielded some of the best objects in the collection. 

Fragments and complete vessels of the earlier period were observed 
only in the middle portion of the area of pits. They seemed to be 
lacking in the northern and southern parts of the pit area, though 
graves containing only vessels of the later people were still found 
there. I conclude from this that the destroyed cemetery of the earlier 
people did not extend so far as that of the second population. 

As to the historic relations of the two types of civilization dis- 
covered here: 

The older people used some shapes of vessels which belonged also 
to the later people. Such are: large pots with handles; bowls with 
incurved rim; and bottles or jars with asymmetrical sides, one being 
flattened, the other humped in the center like a shield [mammiform]. 
But the general character of ornamentation in the two periods was 
very different. The earlier period used elaborate designs, mostly in 
three colors, white, red, and black; while the later used only simple 
white lines and dots and small rings on red, not higher in style than 
might be made by a barbarous nation. Still there exist some links 
between the two styles of ornamentation. The elaborate ornaments of 
the older period are simplified near the end of the period; animal 
designs are reduced to simple triangular ornaments; the indications 
of faces within the triangles gradually disappear; and the last step 
is reduction in the number of colors used.** One can clearly see the 
results of the progressive conventionalization of the patterns. On the 
other hand the stylistic difference in the ornamentation of the earlier 
and later periods is so wide that the two styles cannot have belonged 
to the same nation. Inasmuch as the more barbarous or entirely primi- 


48 This seems a subjective arrangement of the E material in a sequence from 
the most developed El designs through the simpler ones to E2 designs.—Ed. 


1926} Kroeber: The Uhle Pottery Collections from Chancay 299 


tive people would, in this case, have been the one whose culture was 
indigenous to the valley, the higher civilization of the older people 
must therefore have been imported from an area of higher develop- 
ment. Presumably there was also an indigenous people in the valley 
before the importation of this higher foreign civilization—a still 
earlier simple people; but as yet no traces of them have been found, 
probably because their population was secant and their remains few 
and inconspicuous. 

Now the question arises, what general age is to be attributed to the 
two civilizations encountered on this southern side of the Cerro de 
Trinidad, the early higher and the subsequent simpler one. 

The sequence of development of the periods of civilization of 
Chanecay valley subsequent to the time when the style of Tiahuanaco 
was extended over Peru is complete, and leaves no place in which the 
two newly discovered styles could be accommodated. It is therefore 
an obvious inference that these two styles were anterior to the spread 
of the style of Tiahuanaco. 

This simple conclusion coincides with others arrived at by stylistic 
comparisons. One of my first observations was that the ornament of 
certain vessels [fig. 13] showed a striking similarity to that of 
engraved pottery fragments in the oldest pre-Tiahuanaco shellmound 
of Ancon. The difference in technique—painting against engraving—- 
is in this case of less importance. 

The most common design on the pottery of the older people has the 
typical outline of complementary animal heads on worm-lke bodies 
with serrated edges [the interlocking fish style, in which the ‘‘back- 
ground’’ forms half the pattern—figs. 10, 11, 19]. This is undoubtedly 
a textile pattern, and one might easily compare it with similar patterns 
occurring on textiles of a much later period, namely the second after 
the style of Tiahuanaco at Pachacamac [Red-white-black]. I have 
represented a number of such textiles in the work on Pachacamac.*® 
There is very little difference between the patterns of the two localities, 
other than that in the textile patterns of the third period of Pacha- 
camac the triangular animal heads are often replaced by heads of 
birds or by fishes. On the other hand, in 1901, I found a mummy in 
an apparently very old burial of the oldest period of Ica [Proto- 
Nazea] at Ocucaje, a singularity of which was a gauze-like cloth whose 
perforations formed the same pattern. I concluded then that patterns 
of this kind might have had a much earlier beginning than in the 


49 Pachacamacg, pl. 8, fig. 13; and, also interlocking though perhaps not fish, 
pl. 8, figs. 15, 16—Ed. 


300 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


relatively late period [of Pachacamac, etc.] in which they most often 
occur. So we remain comparatively free, even on this score, in 
assigning a time to the origin of this pattern. 

The pattern on the rim of the oldest pottery of Chaneay often is a 
double fret with rectangles at one end and a diagonal line or triangle 
at the other [figs. 10-14, 16-17, 19-20]. Patterns like this also occur 
on the fragments found between ,the before mentioned adobes of the 
Pachacamaec temple.*° They have some relation to maeander orna- 
ments common in the period of Tiahuanaco. But the identical orna- 
ment is never used in the Tiahuanaco style, nor are there transitional 
stages. Nor can such a regular use of maeanders on the rim of vessels 
be observed in the Tiahuanaco style. The rim ornaments of the old 
style of Chaneay, therefore, do not indicate the age of this style. 

Certain vessels better explain the age and the origin of the style. 
There is one valuable vessel [pl. 90d] whose painting represents an 
animal with thorn-like feet along both sides of the body. Its head is 
the same as in the common textile pattern [just discussed, the inter- 
locking fish], the thorn-like projections on the body corresponding to 
the serrated edges of this pattern; but the animal as a whole is of 
course the same that is so often represented on the oldest pottery of 
the region of Ica [Proto-Nazca], and typical of it. There it is a 
myriapod, and it may be that the same animal was intended by the 
old people of Chaneay. 

Various shapes at Chanecay are also identical with shapes of the 
Proto-Nazea style, such as: cylindrical vessels; wide-mouthed pot-like 
vessels; and jars with two spouts. There is one vessel of the last type 
[pl. 88a], as fine in technique and as smoothly polished as any of 
the Proto-Nazea ones, and painted with six fish-like animals, the 
intimate relation of which to the mythological designs of the Proto- 
Nazca period of Ica is self-evident. From the figure of this animal 
there have been derived many of the designs of fishes characteristic 
of the old style of Chaneay. 

Finally, when we remember that round lumps of adobe, character- 
istic of the Proto-Nazca constructions, are also found with the old 
Chaneay burials, our deductions as to the age and origin of this 
civilization of Chaneay seem quite complete. 

At the time when the Proto-Nazea civilization was flourishing in 
Tea and the south, it also influenced the region of Chaneay in central 
Peru. From it was derived that particular old style of Chaneay which 


50 Ibid., figs. 26, 27, 28. 


1926] Kroeber: The Uhle Pottery Collections from Chancay 301 


found its most characteristic expression in the textile [interlocking ] 
designs discussed above. Hand in hand with it went the curious 
[serrated] fish-like designs. How different in character and historical 
position this |Proto-Nazea influenced] style was from those of all 
succeeding periods of Chaneay, may be further seen in certain dotted 
designs, especially on some vessels which bear ornaments of from one 
to about ten large hexagonal faces.*' This ornament is so strange 
among everything known from Peru, that if these vessels had not been 
found in actual excavations [but had drifted into a collection without 
information], it would be difficult to say from what part of the 
hemisphere they had come. 

This early high civilization based on foreign influence from the 
south lasted a long enough time in the valley to leave an extensive 
cemetery, innumerable fragments of painted pottery, and walls of 
round lumps of adobe. But in the end it dwindled away and left 
behind a people who scarcely preserved a memory of the people of 
higher civilization that had preceeded them. The inhabitants of the 
valley returned from the stage of imported civilization to an indige- 
nous barbarism, which was rather low, the introduction of foreign — 
higher culture having occurred only once. It was not until the end 
of this second period in Chancay that the civilization and style of the 
monuments of Tiahuanaco made their entrance into the valley. The 
discoveries made on the southern slope of the Cerro de Trinidad there- 
fore disclose two periods which preceded the introduction of the style 
of Tiahuanaco—the oldest hitherto known in central Peru. 

My explorations in the valley of Ica and in that of Trujillo in 
1899-1901 had the result that in both valleys there were found civiliza- 
tions [Proto-Nazea and Proto-Chimu] that far antedated the style of 
Tiahuanaco which since 1892 was recognized as oldest. On the basis 
of my excavations, I was subsequently able to prove that these two old 
styles of Ica and Trujillo, however different in appearance, were 
related to each other. At that time I could not account for the wide 
geographical separation of the two styles. My excavations in the 
valley of Chaneay, which is situated almost exactly half way between 
the two other areas, suggest that this geographical gap was bridged 
by civilizations of the same general character. Of these, the old 
Chaneay culture is the only one as yet known, aside from traces of an 

51 The manuscript here contains a sketch which obviously represents the 
design on plate 88/, but the only other faces are those on 88c (fig. 10) and 84b, 
unless the triangular figures in 89a, g be construed as faces. ‘‘Dotted designs’’ 


oceur in 88d and figs. 12, 14, 19, but not in combination with faces. The passage 
is evidently based on memory.—Ed. 


302 University of California Publications in Am. Arch. and Ethn. {[Vol. 21 


early Ancon civilization whose cemetery it has not yet been possible 
to find. But it is a natural conclusion that civilizations of the same 
age and similar character must likewise have existed in the other 
valleys between Ica and Trujillo. One may have all confidence that 
the task of discovering these can be fulfilled satisfactorily. We are 
accordingly on the road to the determination of a new cultural stage 
all over Peru for a remote epoch in which the construction of the 
monuments of Tiahuanaco was still unthought of. When this deter- 
mination has been completed, the problem will follow: Wherefrom 
descended the civilization of this pre-Tiahuanaco stage? I trust that 
this question as to the ancestry of Peruvian civilization will be 
successfully answered at some time to come. 

The remote age of the two pre-Tiahuanaco civilizations found on 
the southern slope of Cerro de Trinidad accounts for the simplicity of 
their remains. Mostly, there were found only objects of pottery; no 
objects of metal at all, not even in traces; a number of objects of 
stone, especially spindle-whorls; only one object of wood; and textiles 
only in traces. Skulls and other bones were partly preserved. But 
there was one remnant which deserves to be specially mentioned. 
During the attempts to find burials in one of the sandy spots within 
the area of stone pits, there was discovered a painted wall 23 m. long 
and 1.6 meters high at its best preserved part. It was buried in a 
small elevation of apparently natural origin; but excavations proved 
that the ground had been filled to above the top of the wall. The 
filling was the same mixture of stones, fragments of old pottery, ashes, 
ete., as that covering a wide area of ground on the [north-]western 
[i.e., opposite, site A] slope of the Cerro, and must have been heaped 
up after the end of the period to which the wall belonged. Owing 
to the stony nature of the fill, excavation was difficult, but the paint- 
-ing proved to be so valuable that the whole wall was laid bare. It was 
the western wall of a small terrace-like building, which had been 
erected over an artificial base, 2.6 meters high, composed of material 
similar to that of the later filling. In the construction of the wall, 
round lumps of adobe had been used with preference, besides stone, 
but no bricks of adobe. The painting was done in four colors, white, 
yellow, red, black; the black, as on pottery, being used for the outlines 
of the drawings. The latter, sometimes repeated one over the other, 
reproduced the textile [interlocking fish] design discussed above, and 
were copied in colors as far as their preservation aliowed.*? This wall 


52 Frihkulturen, p. 358, fig. 6. 


1926 } Kroeber: The Uhle Pottery Collections from Chancay 303 


therefore originated in the oldest period of the valley; and further- 
more, this particular textile design was highly significant. For only 
a special significance, which undoubtedly was religious, would have 
induced a people to reproduce a pottery design on the wall of a 
prominent building. 

Undoubtedly there were other ancient buildings in this region. 
This is indicated by the existence of similar elevations of sandy sur- 
face, by traces of old walls in the railroad cuts, and in cuts at the 
western foot of the Cerro. A temple-like construction with traces of 
terraces, on the southern side of the railroad grade in front of the. 
painted wall, is of much later date, since in its construction small 
square adobe bricks were used. 

In the plain of the valley, especially around Chaneay itself, many 
small mounds of boulders and earth may be observed. Many of them 
are oblong and narrow, following the direction in which water runs 
naturally in the valley. For a long time I was in doubt about these 
mounds, for a natural origin seemed quite possible. Later, I found 
fragments of pottery deep in them, which proved them artificial. The 
original purpose of piling up these mounds may have been to clear 
the fields of stones. But they must also have been used at an early 
time as dwelling sites, for, in some of them there are walls of the 
round adobe lumps which point to the oldest civilization of the valley ; 
and in the deeper layers of one there were found vessels of the second 
or semi-barbarous pre-Tiahuanaco civilization, together with skeletons. 
The higher layers of this mound, to judge by fragments of pottery 
found in them, dated from the late period of White-and-black vessels 
of Chancay. 


1904 


304 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


SPECIMEN NUMBERS OF OBJECTS ILLUSTRATED 


Number prefixes denoting site and grave here replace the prefix 4— which 
specimens bear in the Museum catalogue: A1—6363 instead of 4-6363. 


Plate 80. Black-on-white style jars from sites A, B, D: a, Al—6363; b, B1—6435; 
c, D-6705; d, A1-6409; e, B1-6438; f, A3—6421. 

Plate 81. Black-on-white style jars from sites A, B, C, D: a, A1-—6369; b, 
B2-6486; c, A1-6367; d, A5-6429; e, C12-6554; f, B2-6466; g, C36—6683. 

Plate 82. Black-on-white style vessels from sites A, B, C, D: a, B2-6482; b, 
B1-6442; c, A1-6370; d, C33-6676; e, C11-6551; f, C6—6524; g, C37-6694. 

Plate 83. Epigonal (and Three-color Geometric) style goblets and low bowls 
from site C: a, C22-6605; b, C17-6577; c, C22-6618; d, C28-6633; e, C22-6615; 
f, C18-6582; g, C1-6510; h, C-6656; i, C27-6631. 

Plate 84. Epigonal and Three-color Geometric style vessels from site C: a, 
C18-6583; E-7011 (found superficially) ; ce, C1-6509; d, C17—-6579; e, C-6641; 
f, C10-6545 ; g, C35-6682; h, C24-6621. 

Plate 85. Three-color Geometric (and Epigonal) style jars from site C: a, 
C11-6552; b, C32-6669; c, C26-6626; d, C17-6576; e, C18-6581; f, C13—6556; 
g, C1-6504; h, C16-6573; 1, C23-6613; gj, C11-6553; k, C7-6529; 1, C38—G6696. 

Plate 86. White-on-red style bowls and jars from site E: a, E-6898; b, E-6951; 
c, E-6902; d, E-6930; e, E-6826; f, 68-6854; g, E-6843. 

Plate 87. White-on-red style bowls and jars from site E: a, E-6956; b, E-6 
c, E-3809; d, E-6988; e, E-6967; f, E-6807; g, E-6867; h, E-6908; 7, E-6 
j, E-6978; i, E-6805. 

Plate 88. Interlocking style vessels from site E: a, E-6727; b, E-6730; ¢, 
E-6734; d, E-6735; e, E-6731; f, E-6749. 


a5 
7 


. 


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Plate 89. Interlocking style bowls and jars from site E: a, E-6771; b, B-6799; 
c, E-6764; d, E-6800; e, E-6756; f, E-6755; g, E-6773; h, E-6758; i, E-6747. 


Plate 90. Interlocking style modeled jars from site E: a, E-6767; b, H-6769; 
c, E-6768; d, E-6729; e, E-6763; f, E-6761; g, E-6756; h, E—-6762. 


UNIV, GALIF. PUBL, AM. ARCH. & ETHN. VOL. 21 . [KROEBER]| PLATE 80 





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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [KROEBER]| PLATE 82 





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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [KROEBER]| PLATE 86 





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UNLV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 


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[KROEBER| PLATE 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [KROEBER]| PLATE 88 





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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [KROEBER| PLATE 89 





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Pope. Pp. ees plates 98-44, 


Pp, 15 219, pelea ‘text, March, 1918. <a! Sioa: 
Ethno: ography ¢ and. Archaeology. of the. ‘Wiyot Territory, E elly 
Pp. 221-436, plates 1- gures. December, 1918s “2,50 
ad 21-436, pla’ 21,15 text fig December, 1 
tie Wine Hesi- ‘Ceremony, by 8. A: inane Pp; AST. 8B ] ates. 22- 23, er 
; text, March, hy yeaa: 4 AT 


‘CENTER LIBRARY 
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‘Vol. 16 “4. Myths of. the. southern 5! ‘store Miwok, 
| ae Matt ‘complet ay 2 bt 
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| > Paul Radin, ‘Pp. 1-160, Mca 
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- 17-216, 2 figures im text. August,’ 
4 Ee of ‘the Pitch Indians, \e. Walla Lyons 


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\\ Bp. 878-408, ‘plate 20, 182 fleur 
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